Of the many ontological experiments Ken Jacobs has crafted over the last half-century — which have varied between different artistic mediums, lengths, modes, and, especially…
Delmer Daves has his deserved champions, but even so, he’s an interesting sell; not a hard one, per se, but one that’s mildly inundated with…
Hal Hartley occupies a curious position in the American film scene. While he might reasonably be called an icon of the independent film scene and…
Brian De Palma is the great voyeur, the plump-bellied pervert, of American cinema. His films have a singularly sleazy feel, gloriously gaudy and admirable in…
“I find ghosts in Japanese horror much more terrifying. In the standard American horror canon, because a ghost violently attacks you or comes after you,…
In Hong Kong’s tropical humidity, where sweltering bodies cram around mahjong tables or hunch over noodle stands, how can two people in a forbidden romance…
Each one of Apichatpong Weerasethakul’s films is a series of echoes and recurrences, palimpsests of what has preceded and teasing forebears of what’s to follow.…
George Romero’s two 1978 releases, Dawn of the Dead and Martin, represent the director at the apex of his career as an artist who had…
Though the films of John Cassavetes are often erroneously described as “improvised” or “verite,” claims that belie Cassavetes’s formal fidelity, it was a modernist, Virginia…
During an interview with Jump Cut in 1976, director Monte Hellman described Two-Lane Blacktop as such: “It’s a film about inner life rather than outer…
Premiering at the 2005 Berlin Film Festival, before going on to win the prestigious Dragons & Tigers Award for emerging Asian cinema at that same…
How do you get away with the perfect murder? Easy: get someone else to do it for you. Such is the premise of Alfred Hitchcock’s…
Director Alan J. Pakula helped usher in a decade of gritty, morally ambiguous New York thrillers with 1971’s Klute, a nervy neo-noir starring Donald Sutherland…
In the opening minutes, an individual practices tennis serves to no one. After every two serves, there is a momentary black screen. Some serves are…
Spike Lee’s 1991 Jungle Fever, a work with a title and subject matter seemingly designed to court — indeed, demand — controversy, is at its…
The playfulness of Chantal Akerman is, throughout her work, always nebulous. A smile, a laugh, a tall-standing stride: these do not signify transparent gestures, so…
One of the great madcap poets of the American cinema, Alan Rudolph has seemingly slipped into irrelevance since his heyday in the 1980s and ’90s.…
For more than five decades now, Clint Eastwood’s longevity as both an A-List Hollywood star and director has been nothing short of astonishing. Sure, he’s…
The French New Wave has long been the go-to introductory movement for burgeoning cinephiles. Unlike other, more loosely-defined national “waves,” it has reasonably delineated boundaries,…
Although The Flowers of St. Francis sits comfortably within one Roberto Rossellini’s most lauded creative stretches , it’s a work that still doesn’t exactly have…